Message number: 5626
the only thing i would have looked at slightly differently is the bb7 you mention in bar 15. i would look at that as a tritone sub for e7, which would be a dominant chord creating a v-i progression in am. however, seeing as the chord only lasts two beats if you stick with g major, the plaster won't fall off the ceiling by any stretch of the imagination.
also, on line three you could look at the am7-d7 as the start of the g minor section. g natural minor would work fine there and it would give you one less key change to deal with. you could even reharmonise to that bar to am7b5 d7alt and that would give you an even more blatant gm section. this is possible because the melody doesn't contain the third of the am7 chord.
you can often reharmonise a major ii-v as a minor as in the above example. the only rule to keep to is that it must fit with the melody. if you are interested in this, look for opportunities when the melody isn't playing the 5th or b5 of the minor chord. for example, in bar 3, the melody is bb, the third of the g minor chord. this means, that we could reharmonise that bar to become gm7b5. then you could make the following c7 a c7alt or c7b9 or whatever you fancy because the melody notes are the root, 5th and 11th of the c7 chord. use your ear and experiment. see when it sound good.
this is a good point to mention chord extension and alterations. often, the written alterations to the dominant chord are flexible. for example, in bar 28 we have some kind of ii-v that doesn't resolve to a i chord. at the moment, it says a-7 to d7b9. now if you look at the melody for bar 28, the melody notes are b-a-b-c. the b9 of d7 chord would be an eb. this isn't in the melody so that chord doesn't have to be d7b9. it could be d7#9 or d7alt or just plain old vanilla d7. the point is that, unless the melody dictates it, you don't need to treat the written chord extensions as set in stone.
hope that some of you find this useful.
barry
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